Argentina

THE fiscal and balance-of-payments deficits of the Greek economy leave it heavily dependent on transfers from the euro zone and the other troika membersathe European Central Bank and the International Monetary Fund. This lifeline makes Greece understandably hesitant to leave the euro area, but it also entails a significant burden that restrains recoveryaconsiderable new debt in the form of loans to be reimbursed at par and with preferred status over other creditors. Since the unsustainability of the current debt level is no secret, there can be no expectation of voluntary lending to the Greek public sector. In an analysis published in The Economistof February 18, 2012,Mario Blejer and Guillermo Ortiz have not sufficiently emphasised this and certain other elements of the Greek situation, which, when taken into consideration, could well alter their conclusions.

Greece faces few good options concerning its currency regime and other relevant matters, like rules for nominal price and wage formation, and will soon have to take tough decisions. Outsiders may help provide information about these possibilities, but, in the end, it is the decision of the Greek people and their representatives that counts.

One highly relevant goal is to provide for a better future and realign flows, i.e., revenues with expenditures for the economy as a whole. To this end, it is necessary to design a transition path that will enable competitive gains. Another aspect is how to manage prevailing commitments in a way that, at least, will not hinder those future possibilities. In these exceptional circumstances and when looking through the monetary veilabeyond the currency arrangementsacertain meaningful contracts have to be revisited. Acknowledging this and minimising the scope of the exercise is desirable, and to aim at the best possible cost-benefit outcome it is necessary to select the least harmful timing and make the resolution mechanisms as efficient as possible.

In this respect, the Argentine restrictions on bank withdrawals (corralito) and the mandatory conversion of bank foreign currency assets and liabilities (pesification) do not deserve to be in the template of policies. Other options were available. Those measures had very poor cost-benefit outcomes when factoring in their effects on economic activity, outflow of resources, overshooting of the foreign currency and inflationary consequences. They unduly penalised domestic savers and did not even benefit larger debtors, the bulk of whose debts were governed by foreign law. In this respect, Greece has a comparative degree of freedom since most contracts are governed by domestic law.

In crisis situations moreso than in normal times, fairness considerations and related burden-sharing among different constituencies of stakeholders are of utmost importance. As in these cases there are no pre-written mechanisms, a legitimisation of the outcomes is required. Very often, the temptation is to skip this step in the name of efficiency, perhaps justifying the omission by a sense of urgency. Thatas why functioning democratic means must prevail over, though they take into consideration, economic efficiencies, including timing considerations. Greece, the cradle of democracy, can learn these lessons from the Latin American experience.

As soon as devaluation was considered possible, a persistent bank run took place in Argentina. It lasted for over a year and consumed two-thirds of the countryas foreign-exchange reserves…Exiting the euro would require the compulsory redenomination of banksa assets and liabilities, and of practically all contracts, prices and wages. In Argentina, where dollars were widely used as a unit of account, redenomination took the form of apesificationa. It had vast redistributive consequences. If Greece abandons the euro the adrachmatisationa of loans and depositsaand the exchange-rate movements that would followawould benefit bank debtors and harm depositors, leading to further social turmoil.

Bad as it was for Argentina, it would be worse for Greece:

Many Argentinian contracts had continued to be denominated in pesos, since the currency board did not eliminate the local currency. These contracts, at least, could be honoured. But Greece would have to deal with the complete universe of covenants since every contract would need redenomination. A sea of bankruptcies would follow…The end of Argentina’scurrency board was harrowing. It led to endless violations of contracts that left an enduring stain on the investment environment. But reintroducing an abandoned currency is even more difficult. Argentina never stopped using the peso, but Greece discarded the drachma. To generate confidence in the drachma in the midst of a crisis would be very challenging. Convincing potential investors to commit to projects denominated in a reintroduced currency is an almost unachievable task.

They go on to argue that Greece has something Argentina did not: an international institutional framework that can help it regain fiscal and external balance without the need of devaluation.

They are certainly correct to point out these differences. But are the differences big enough to negate the benefit of Greece ultimately leaving the euro? First, Greece has already paid some of the costs: it has endured a bank run since its crisis began. The nearby chartshows that household and corporate deposits in the Greek banking system have shrunk by 27% since September, 2009. Loans from the European Central Bank (via the Greek central bank) now make up roughly a third of Greek banks’ funding. By the time exit finally arrived, it’s a good bet that ratio will have risen further. This means that the biggest loser from the redomination of the banking system’s liabilities into drachmas would be the ECB and its member central banks, not domestic Greek savers.

Second, if Greece stays in the euro, how does it restore its competitiveness?Greece’s current account deficit has narrowed, but remains disturbingly wide. Moreover, as the second chart shows, it has achieved that narrowing almost entirely via a collapse in imports, a direct consequence of its economic depression. Exports were lower last year than in 2008. As Mr Blejer and Mr Ortiz acknowledge,“All successful adjustments in Latin America involved huge initial devaluations and immediate reductions in real wages, thus cutting unit labour costs.” I would go further and say most, if not all, resolutions of balance of payments crises involve devaluation. For Greece to pull this off without devaluation will require a brand new template.

It will almost certainly mean almost unimaginable wage and price deflation. The popular fury that the latest round of austerity, which includes private sector wage cuts, has unleashed demonstrate how treacherous that path will be. And even if it does happen, it will restore Greek competitiveness far more slowly than a devaluation would, so unemployment will be higher for longer.

There is no question that a Greek exit from the euro would be convulsive and impose enormous costs on the Greek economy and its people. But will those costs be any higher than if Greece stays on its current path? That question is far from settled.

Blue Man Group has been impressing live audiences since 1990 with its wildly popular theatrical shows and concerts that combine music, comedy and multimedia theatrics in producing a unique entertainment experience. It currently has permanent productions in nine cities, including New York City, Boston, Las Vegas, Orlando, Berlin and Tokyo, and frequently tours both domestically and internationally. The group was created by Chris Wink, Matt Goldman and Phil Stanton, who will star as the trio of blue men in the film, the group’s first foray onto giant screens and into 3-D film. “Blue Man Group: Mind Blast,” which begins pre-production in early 2010, will follow the bald and blue trio as they travel through a visually stunning 3-D brain, exploring its neural pathways, synapses and gooey brain structures. Music, physical humor and Blue Man antics abound as they make art, collect scientific facts and turn our brains upside down.

While NGE has previously presented film projects on subjects as diverse as wildlife, music and ancient cultures, this will be its first cinematic foray into the function of the human mind itself. Blue Man Group’s live shows and concerts have long delved into the mysteries of human creativity and neurological function, which makes these blue explorers the perfect guides for NGE’s most ambitious journey yet.

The film will be directed by David Russo and executive produced by Barbara Darwall of Blue Man Productions. The original script was written by Lisa Robinson; Charlotte Huggins and Janice Doskey are producers. Distribution of the film will be led by Mark Katz, president of National Geographic Cinema Ventures Distribution, and overseen by National Geographic Cinema Ventures President Lisa Truitt.

“Our giant-screen film collaboration with Blue Man Group will continue National Geographic Entertainment’s foray into the distribution of an increasingly diverse array of films,” said Truitt. “The slate of films that we’ve acquired and are releasing this year and next are a reflection of National Geographic’s commitment to telling stories in engaging and groundbreaking ways.”

David Beal, president, NGE, said: “National Geographic constantly strives to be a window to the world and all that’s in it. Our collaboration with Blue Man Group presents a further opportunity to take that challenge to an ever widening audience.”

“Exhibitors around the world are increasingly thirsty to present new and exciting theatric experiences to their audiences,” said Katz. “Helping to bring Blue Man Group’s electric live performances to the giant screen in 3-D is an opportunity we could not pass up as we aim to stay on the cutting edge of the film business.”

Said Blue Man Group co-founder Matt Goldman, “Blue Man Group and National Geographic share a similar passion for curiosity, exploration and discovery. This alignment of values makes National Geographic Cinema Ventures the perfect distributor for ‘Blue Man Group: Mind Blast’ — a film that aims to explore the inner workings of the human mind in the same way that National Geographic has long been exploring the workings of our world as a whole.”

About National Geographic Entertainment
National Geographic Entertainment combines into a single operating group National Geographic’s Cinema Ventures and National Geographic Films and World Films, along with Kids Entertainment, Home Entertainment and Music & Radio. In 2005, National Geographic Films (NGF) co-presented the 2005 Academy Award-winning “March of the Penguins, ” and National Geographic World Films co-presented the 2004 Oscar-nominated film “The Story of the Weeping Camel” as well as Lu Chuan’s “Mountain Patrol: Kekexili.” National Geographic Cinema Ventures (NGCV), released domestically and internationally the 3-D concert film “U2 3D” to critical acclaim and set giant-screen box office records with “Mysteries of Egypt” and “Sea Monsters: A Prehistoric Adventure.” Adam Leipzig is president of NGF, Lisa Truitt is president of NGCV and Mark Katz is president of NGCV Distribution.

NGE is part of National Geographic Global Media, bringing together all of National Geographic’s editorial platforms to streamline collaboration and support the Society’s mission. Founded in 1888 to “increase and diffuse geographic knowledge,” National Geographic works to inspire people to care about the planet. It reaches more than 375 million people worldwide each month through magazines, books, digital media, television, radio, music, film and live events. It funds over 250 scientific research, exploration and conservation projects each year and supports an education program promoting geography literacy. For more information, visit www.nationalgeographic.com.

About Blue Man Group
Blue Man Group is best known for its widely popular theatrical shows and concerts that combine music, comedy and multimedia theatrics to produce a totally unique form of entertainment. The blissful party atmosphere created at the live events has become the trademark of a Blue Man Group experience. Currently, its theatrical shows can be seen in New York, Boston, Chicago, Las Vegas, Orlando, Berlin and Tokyo.

Blue Man Group’s satirical rock concert Megastar World Tour has toured arenas across the United States and has played extensively in Canada, France, Mexico, Argentina, Brazil, Chile and Korea. In fall and winter, Blue Man Group Megastar World Tour continued its international travels in Austria, Belgium, Denmark, Germany, The Netherlands, Switzerland, Portugal, England and Israel, and is currently heading to Taiwan. The company has applied its unique creative process to a wide variety of projects, the recording of five albums: the GRAMMY-nominated “Audio,” “The Complex,” “Live At The Venetian ® ¬- Las Vegas,” “How To Be A MegaStar Live!” and “Canta Conmigo.”

Blue Man Group has also ventured into scoring (“The Jury,” “Robots” and “Space Chimps”), commercial campaigns, television programs (including “Scrubs” and “Arrested Development”) and a children’s museum exhibit, “Making Waves,” which is currently touring the United States.

WASHINGTON (Feb. 25, 2009)—”U2 3D,” rated the No. 4 best-reviewed film and top concert film in 2008 by Rottentomatoes.com and recipient of the Best Musical Film Award at the Los Premios MTV Latin American Video Music Awards, will open in more than 40 theaters in Japan on Saturday, March 7. The film, which premiered at last year’s Sundance Film Festival, has grossed more than $20 million worldwide.

Four days before “U2 3D” opens in Japan, the great Irish rock band’s long-awaited new studio album “No Line on the Horizon” — their first since 2004 — will be released internationally.

Mark Katz, president of distribution, National Geographic Cinema Ventures, said, “We’re delighted that ‘U2 3D,’ which continues to do well domestically and internationally, will be released in Japan. Because of the importance of the Japanese market, we waited to open there so the film could screen in the best-equipped 3D and IMAX theaters. And the film’s release on the heels of the band’s new CD is perfect timing.”

“This was our company’s first production, and it was truly a labor of love,” said Sandy Climan, CEO of 3ality Digital, which produced and shot the movie. “We were confident that we could create an immersive experience that made viewers feel like they were part of the band, and we delivered on that promise. We’re thrilled that the movie continues to enthrall audiences around the world.”

Filmed in South America during U2′s Vertigo Tour, “U2 3D” is the first live-action movie ever shot, produced and exhibited in digital 3D. The film captures the intimacy between band and audience in a unique, visceral way and establishes a new standard in 3D digital technology.

Directed by Catherine Owens and Mark Pellington, “U2 3D” transforms a series of live concerts by one of the world’s most acclaimed bands into a completely new entertainment experience. “U2 3D” takes viewers on an extraordinary cinematic journey, a quantum leap beyond traditional concert films and traditional 3D, immersing audiences in the excitement and throbbing intensity of a stadium concert.

The “U2 3D” production crew shot at huge outdoor stadium shows in four Latin American venues: Mexico City, Mexico; Sao Paulo, Brazil; Santiago, Chile; and Buenos Aires, Argentina. More than 100 hours of digital 3D footage were shot, documenting a set list that includes such seminal U2 songs as “Sunday Bloody Sunday,” “Where the Streets Have No Name,” “With or Without You,” “Bullet the Blue Sky” and “One,” as well as more recent tracks such as “Beautiful Day,” “Love and Peace or Else,” “Vertigo” and “Sometimes You Can’t Make It on Your Own.”

“U2 3D” received the award for Outstanding Visual Effects in a Special Venue Project from the Visual Effects Society of America at the 7th Annual VES Awards on Feb. 21, 2009. In addition to this award, the film was recognized as Best Musical Film at the Los Premios MTV Latin America Video Music Awards; received the Pioneer Award (Film & Television) from the 2008 3-D Film and Interactive Film Festival; and Best Film Produced Non-Exclusively for Giant Screen Theaters from the Giant Screen Cinema Association. “U2 3D” was the best reviewed concert film of 2008 and the fourth best reviewed film overall according to RottenTomatoes.com annual review roundup.

3ality Digital’s Jon Shapiro, Peter Shapiro and John Modell, along with Owens, produced the 3ality Digital presentation. Sandy Climan, David Modell, and Michael Peyser served as executive producers, while Steve Schklair served as 3-D and digital image producer.

About National Geographic Entertainment
National Geographic Entertainment (NGE) combines into a single operating group National Geographic’s Cinema Ventures, Films, Kids Entertainment, Home Entertainment and Music & Radio. NGE is part of National Geographic Global Media (NGGM), bringing together all of National Geographic’s editorial platforms to streamline collaboration and further support the Society’s mission. Founded in 1888 to “increase and diffuse geographic knowledge,” National Geographic works to inspire people to care about the planet. It reaches more than 325 million people worldwide each month through magazines, books, digital media, television, radio, music and film. It funds more than 250 scientific research, exploration and conservation projects each year and supports an education program combating geography illiteracy. For more information, visit www.nationalgeographic.com.

National Geographic Cinema Ventures (NGCV), formerly known as National Geographic Giant Screen Films, is part of National Geographic Ventures (NGV), a wholly owned subsidiary of the National Geographic Society. Building on its global reputation for remarkable visuals and compelling stories, NGCV produces original 2D and 3D productions for the world’s largest screens. NGCV also retains distribution rights to one of the largest film libraries in the giant-screen industry.

“In a world where indigenous languages are in jeopardy of imminent loss at the rate of one every two weeks, it is crucial that we recognize the value of our indigenous and under-represented minority-culture communities and the cultural knowledge they provide us,” said Francene Blythe, director of the All Roads Film Project. “It has become the mission of All Roads over the past five years to seek out the stories of these communities and make them accessible to a broader audience. Since our inception, All Roads has reached thousands of people throughout the world through our festival and traveling photography exhibits. In the coming years we hope to create an even greater impact as we continue to search out these unique stories, for they help us gain not only a greater understanding of ourselves but also of our place in the world.”

Among this year’s standout films are “Under the Bombs,” a narrative film by Franco-Lebanese director Philippe Aractingi, shot in the midst of real-time mortar bomb blasts and machine gun fire in Lebanon; Student Academy Award-winning film “As We Forgive,” by Laura Waters Hinson, which explores the acts of reconciliation between the Hutu and Tutsi communities of Rwanda; “The Linguists,” a documentary by filmmakers Seth Kramer, Daniel A. Miller and Jeremy Newberger, who travel to remote villages in Siberia, India and Bolivia following two tenacious scientists on a quest to record languages on the brink of disappearing; and “La Americana,” a look at the emotional dilemma faced by immigrants, by director Nicholas Bruckman with director of photography John Mattiuzzi.

Other notable films are “What Was Promised,” a film by National Geographic Emerging Explorer and All Roads seed grantee Roshini Thinakaran, depicting the challenges faced by the female recruits of Iraq’s new security forces; “Sikumi (On the Ice),” a short by up-and-coming filmmaker Andrew Okpeaha MacLean (Iñupiaq); and Sundance audience favorite “Nikamowin (Song),” by director Kevin Lee Burton (Swampy Cree).

Also, this fifth-anniversary year, All Roads will include a program of “Persian Portraits,” featuring a collection of narrative shorts and a short-form documentary curated by the Documentary Experimental Film Center in Tehran. The festival will screen a number of animated shorts in addition to its roster of narrative and documentary shorts and features.

This year’s photography program features the work of 2008 All Roads Photography Program awardees Khaled Hasan (Bangladesh), Farzana Wahidy (Afghanistan), Alejandro Chaskielberg (Argentina) and Rena Effendi (Azerbaijan), whose work will be displayed on a digital monitor at various screening locations.

Hasan’s photo essay “Living Stone: A Community Losing Its Life,” focuses on the India-Bangladesh border community of Jaflong, whose inhabitants are struggling with the environmental, political and physical effects of the region’s stone-crushing industry. Wahidy’s exhibit, “Afghan Women,” explores the enormous pressures and perils faced by the women of her native land, who enjoy far fewer rights today than they did 30 years ago. “The High Tide: Native Islanders and the Community of the Paraná River Delta,” from Chaskielberg beautifully depicts a new culture — with its own laws and codes, a byproduct of unemployment and immigration — that has formed in this unique estuary, with a dense forest full of water and silence. Effendi’s essay, “Khinaliq Village — A Staircase to the Sky 2003-2006,” explores the effects of urbanization on the ancient village of Khinaliq in Azerbaijan, a village whose unique ancient culture is being threatened by the development of a luxury ski resort.

Advance tickets can be purchased now at the festival box office at 519 Cerillos Road, Santa Fe; by calling (505) 989-1495; or online at www.santafefilmfestival.com. Visit www.santafefilmfestival.com and www.nationalgeographic.com/allroads for specific dates and times. Tickets prices are $10 for individual admission, $75 for a 10-pack. Festival passes are on sale for $300 and $450. Call (505) 989-1495.

The All Roads Film Festival is part of the All Roads Film Project, a National Geographic program created to provide an international platform for indigenous and under-represented minority-culture artists to share cultures, stories and perspectives through the power of film and photography. In addition to providing a venue for their films, All Roads offers its filmmakers and photographers a series of networking opportunities and awards up to 10 seed grants a year to support the development and production of film and video projects by or about indigenous and under-represented minority-culture communities. Seed grant recipients are considered for inclusion in the All Roads Film Festival and other National Geographic-affiliated broadcast outlets. The All Roads Photography Program provides photographers with award money, cameras and photography equipment to assist with their fieldwork.

The Santa Fe Film Festival is a nonprofit that takes place Dec. 3-7, 2008, offering the best selection of independent films of all lengths — documentaries, narratives, international films, films about the artistic process, gala presentations of films from major distributors, retrospective screenings of tributees’ works, as well as educational workshops and varied opportunities for working filmmakers to network and reach out to the public. For more information on the festival, visit www.santafefilmfestival.com, powered by Desert Elements, or call (505) 988-7414.

Directed by Catherine Owens and Mark Pellington, “U2 3D” transforms a series of live concerts by one of the world’s most acclaimed bands into a completely new entertainment experience. “U2 3D” takes viewers on an extraordinary cinematic journey, a quantum leap beyond traditional concert films and traditional 3-D, immersing audiences in the excitement and throbbing intensity of a stadium concert by the world’s most popular band.

3ality Digital’s Jon Shapiro, Peter Shapiro, John Modell, Steve Schklair, Sandy Climan, Michael Peyser and David Modell, along with Owens, produced the 3ality Digital presentation.

“We are delighted to have received this prestigious award for ‘U2 3D,’” said Climan, CEO, 3ality Digital. “The film was a labor of love, and a true collaboration between the band, who are consummate musical artists, the directors and the 3ality Digital production team. It was our first feature-length film using our innovative 3-D technology, and we’re very proud of it. We look forward with National Geographic Entertainment to welcoming audiences all over the world to experience it.”

Mark Katz, president of distribution, National Geographic Cinema Ventures, said: “We’re delighted that ‘U2 3D’ is honored as the Best Musical Film at the MTV Latin American Video Music Awards. We always felt that this was a groundbreaking film that would stir audiences and critics to cheer around the world as it pushed the boundaries of filmmaking and is the closest thing to actually experiencing the energy and excitement of a U2 concert. Since ‘U2 3D’ was filmed during U2′s Latin American concert tour, we are especially proud to win the Best Musical Film MTV Latin American Video Award.”

The “U2 3D” production crew shot at huge outdoor stadium shows in four Latin American venues: Mexico City, Mexico; Sao Paulo, Brazil; Santiago, Chile; and Buenos Aires, Argentina. More than 100 hours of digital 3-D footage were shot, documenting a set list that includes such seminal U2 songs as “Sunday Bloody Sunday,” “Where the Streets Have No Name,” “With or Without You,” “Bullet the Blue Sky” and “One,” as well as more recent tracks such as “Beautiful Day,” “Love and Peace or Else,” “Vertigo” and “Sometimes You Can’t Make It on Your Own.”

About National Geographic Entertainment
National Geographic Entertainment (NGE) combines into a single operating group National Geographic’s Cinema Ventures, Films, Kids Entertainment, Home Entertainment and Music & Radio. NGE is part of National Geographic Global Media (NGGM), bringing together all of National Geographic’s editorial platforms in order to streamline collaboration and further support the Society’s mission. Founded in 1888 to “increase and diffuse geographic knowledge,” National Geographic works to inspire people to care about the planet. It reaches more than 325 million people worldwide each month through magazines, books, digital media, and television, radio, music and film. It funds more than 250 scientific research, exploration and conservation projects each year and supports an education program combating geography illiteracy. For more information, visit www.nationalgeographic.com.

National Geographic Cinema Ventures (NGCV), formerly known as National Geographic Giant Screen Films, is part of National Geographic Ventures (NGV), a wholly owned subsidiary of the National Geographic Society, one of the world’s largest nonprofit scientific and educational organizations. Founded in 1888 to “increase and diffuse geographic knowledge,” National Geographic works to inspire people to care about the planet. Building on its global reputation for remarkable visuals and compelling stories, NGCV produces original 2-D and 3-D productions for the world’s largest screens. NGCV also retains distribution rights to one of the largest film libraries in the giant-screen industry.

“Welcome to Enurmino!,” by director Aleksei Vakhrushev (“Time When Dreams Melt,” “Birds of Naukan”), of Chukchi descent, won the audience favorite award for best feature-length film; “A Sketch of Wathone,” by director Kyi Phyu Shin ["Hna Khan Htat Ka Dar Thwar (The Sharp Knife on the Lips)"], of Burmese heritage, won for best short; and “As We Forgive,” by director Laura Waters Hinson, won the audience choice award.

Feature documentary “Welcome to Enurmino!” explores the plight of Russian villagers struggling to maintain their traditional Chukchi culture, while challenged by the changing landscape and their increasing isolation. The film screened at All Roads in Los Angeles and Washington and will screen as part of the All Roads program at the Santa Fe Film Festival, Dec. 3-7, 2008.

“A Sketch of Wathone” profiles Wathone, one of Myanmar’s best known painters, as he shares his thoughts on life, art and family. The film is Kyi Phyu Shin’s second documentary completed through the Yangon Film School. “A Sketch of Wathone” made its U.S. debut at All Roads in Los Angeles and Washington and will also be screened in Santa Fe.

“As We Forgive,” which also earned a Student Academy Award from the Academy of Motion Picture Arts and Sciences earlier this year, tells the story of two women as they come face-to-face with the men who slaughtered their families during the 1994 Rwandan genocide. Waters Hinson, founder of Image Bearer Pictures, recently launched the Living Bricks Campaign, a multimedia viewer project to support reconciliation efforts in Rwanda. “As We Forgive” made its U.S. debut at All Roads in Los Angeles and Washington and will be screened in Santa Fe.

All Roads also honored four featured photographers with seed money and photography equipment to assist in their fieldwork. They are Khaled Hasan (Bangladesh), Farzana Wahidy (Afghanistan), Alejandro Chaskielberg (Argentina) and Rena Effendi (Azerbaijan).

Hasan’s photo essay, “Living Stone: A Community Losing Its Life,” focuses on the India-Bangladesh border community of Jaflong, whose inhabitants are struggling with the environmental, political and physical effects of the region’s stone-crushing industry. Wahidy’s exhibit, “Afghan Women,” explores the enormous pressures and perils faced by the women of her native land, who enjoy far fewer rights today than they did 30 years ago. Chaskielberg’s photo essay, “The High Tide: Native Islanders and the Community of the Paraná River Delta,” beautifully depicts a new culture — with its own laws and codes, a byproduct of unemployment and immigration — that has formed in this unique estuary, with a dense forest full of water and silence. Effendi’s essay, “Khinaliq Village — A Staircase to the Sky 2003-2006,” explores the effects of urbanization on the ancient village of Khinaliq in Azerbaijan, a village whose unique ancient culture is being threatened by the development of a luxury ski resort.

The photographers’ work was exhibited at the All Roads Film Festival in Los Angeles and Washington and can be viewed online at www.nationalgeographic.com/allroads.

The All Roads film awards are based on audience scores taken from the All Roads Film Festival in Los Angeles. The photography program awards are evaluated by the All Roads Photography Program selection committee. The All Roads Film Festival is sponsored by InterContinental Hotels.

Kicking off with a live concert by celebrated Somali hip-hop MC, griot and singer/songwriter K’NAAN in his only Los Angeles-area performance with songs from his new CD “Troubadour,” the four-day event will also feature an outdoor photography exhibit with works from four provocative new voices in the photography medium. Sicilian songstress Carmen Consoli will perform in an All Roads event Friday, Sept. 26, at Hotel Café in Hollywood.

“In a world where indigenous languages are in jeopardy of imminent loss at the rate of one every two weeks, it is crucial that we recognize the value of our indigenous and under-represented minority-culture communities and the cultural knowledge they provide us,” said Francene Blythe, director of the All Roads Film Project. “With that in mind, it has become the mission of All Roads over the past five years to seek out the stories of these communities and make them accessible to a broader audience. Since our inception, All Roads has reached thousands of people throughout the world through our festival and traveling photography exhibits. In the coming years we hope to create an even greater impact as we continue to search out these unique stories, for they help us gain not only a greater understanding of ourselves but also of our place in the world.”

Among this year’s stand-out films are “Under the Bombs,” a narrative film by Franco-Lebanese director Philippe Aractingi, shot in the midst of real-time mortar bomb blasts and machine gun fire in war-torn Lebanon; “The Linguists,” a documentary by filmmakers Seth Kramer, Daniel A. Miller and Jeremy Newberger, who travel off the map to remote villages in Siberia, India and Bolivia to follow two tenacious college professors on a quest to record languages on the brink of disappearing; and “As We Forgive,” an emotional tale of loss and reconciliation by Laura Waters Hinson, winner of the Student Academy Award.

Other films of note are “What Was Promised,” by National Geographic Emerging Explorer and All Roads seed grantee Roshini Thinakaran, depicting the challenges faced by the female recruits of Iraq’s new security forces; “Sikumi (On the Ice)” a short by up-and-coming filmmaker Andrew Okpeaha Maclean (Iñupiaq); and Sundance audience favorite “Nikamowin (Song),” by director Kevin Lee Burton (Swampy Cree).

This year All Roads will include a program of “Persian Portraits,” featuring a collection of shorts and a long-form documentary curated by the Documentary Experimental Film Center in Tehran. The festival also will screen a number of animated shorts in addition to its roster of narrative and documentary shorts and features.

All Roads will present the Los Angeles premieres of “Under the Bombs,” “The Linguists,” and “As We Forgive.” Australian feature “When Colin Met Joyce” will be making its North American debut. Other films debuting include the world premieres of “What Was Promised,” Burmese short “A Sketch of Wathone” and All Roads seed grant short “Keao”; the North American premiere of Russian feature “Welcome to Enurmino!”; and the Los Angeles premieres of Kurdish short “White Mountains,” Maori feature documentary “Guarding the Family Silver,” Dene short “Aydaygooay,” Bolivian short “Weaving Life,” Mexican short “Under the Open Sky,” Miq’maq animated short “Maq and the Spirit of the Woods” and Hawaiian short “Na ‘Ono o ka ‘Aina – Delicacies of the Land.”

This year’s photography program features the work of 2008 All Roads Photography Program awardees Khaled Hasan (Bangladesh), Farzana Wahidy (Afghanistan), Alejandro Chaskielberg (Argentina) and Rena Effendi (Azerbaijan).

Hasan will present his photo essay “Living Stone: A Community Losing Its Life,” which focuses on the India-Bangladesh border community of Jaflong, whose inhabitants are struggling with the environmental, political and physical effects of the region’s stone-crushing industry. Wahidy’s exhibit, “Afghan Women,” explores the enormous pressures and perils faced by the women of her native land, who enjoy far fewer rights today than they did 30 years ago. Chaskielberg’s photo essay, “The High Tide: Native Islanders and the Community of the Paraná River Delta,” beautifully depicts a new culture — with its own laws and codes, a byproduct of unemployment and immigration — that has formed in this unique estuary, with a dense forest full of water and silence. Effendi’s essay, “Khinaliq Village — A Staircase to the Sky 2003-2006,” explores the effects of urbanization on the ancient village of Khinaliq in Azerbaijan, a village whose unique ancient culture is being threatened by the development of a luxury ski resort.

For ticket information call (323) 466.3456 (FILM) or order online through www.fandango.com. A full festival schedule is available at www.nationalgeographic.com/allroads.

The All Roads Film Festival is part of the All Roads Film Project, a National Geographic program created to provide an international platform for indigenous and under-represented minority-culture artists to share cultures, stories, and perspectives through the power of film and photography. In addition to providing a venue for their films, All Roads offers its filmmakers and photographers a series of networking opportunities and awards a minimum of 10 seed grants a year to support the development and production of film and video projects by or about indigenous and under-represented minority-culture communities. Seed grant recipients are considered for inclusion in the All Roads Film Festival and other National Geographic-affiliated broadcast outlets. The All Roads Photography Program provides photographers with seed money, cameras and photography equipment to assist with their fieldwork.

All times are Eastern

FRIDAY

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